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Pixies

Come On Pilgrim... It's Surfer Rosa

    30th Anniversary Deluxe Edition of Pixies’ Debut EP and Album, Come On Pilgrim and Surfer Rosa, includes Bonus 1986 Radio Concert Live From The Fallout Shelter

    “An unparalleled example of rule-smashing innovation in independent music.” Pitchfork

    “Smack in between hardcore punk and alternative, their secret weapon was leaping from sweet to screaming, driving a spike into Eighties rock.” Rolling Stone

    “Surfer Rosa quickly cemented itself as a must-have album (and) 30 years on, its aged into timelessness rather than becoming a period piece.” The Quietus

    It’s been thirty years since the release of Surfer Rosa – a record made up of rage, religion, gore, incest and superheroes named Tony – a debut album so good that it’s since seen as a masterpiece. A year prior came Come On Pilgrim, an eight-track mini-album released in 1987 which contained cuts culled from their first ever studio session, where they famously recorded seventeen tracks in just three days (in full, this session makes up the band’s much bootlegged and now officially released The Purple Tape).

    These formative records showed the Pixies to be an alien breed; four oddball outsiders from Boston blending US underground thrash rock, indie surf pop and Spanish-language flamenco with the Biblical mythology of Frances’s childhood. They would go on to record another masterpiece in 1989’s Doolittle but it’s the gruesome glory of Surfer Rosa, and the ruined sexuality of its cover image (a topless flamenco dancer in a crumbling Mexican bar) that set a fresh blueprint for an indie rock dynamism that not only planted the seeds of grunge (Kurt Cobain would admit that he was trying to imitate the record while writing Nevermind) but of much of the best rock music made since.

    To celebrate this milestone, Pixies are playing fi ve sold-out intimate shows at London’s Roundhouse this October and preceding them is the release of Come On Pilgrim… It’s Surfer Rosa, the thirtieth anniversary edition which contains Come On Pilgrim, Surfer Rosa and Live From The Fallout Shelter, a concert-cum-session that first aired in late-1986 on WJUL in Lowell, MA.

    In addition to both a three CD and three LP edition, there’s also a super-limited and stunning deluxe clothbound hardbook three LP version, which will be a must for all fans. Like all other Pixies sleeves, Vaughan Oliver returns as designer, stunningly reinterpreting his original artwork with Simon Larbalestier’s iconic photographs remaining these record’s crowning glory.

    FORMAT INFORMATION

    3xColoured LP Info: Wide Spine Cover, Gold Vinyl, Download Card of Live From The Fallout Shelter Included.

    3xDeluxe LP Info: Clothbound Hardbook, Clear Vinyl, Lyric Booklet, Art Book & Download Card of Live From The Fallout Shelter
    Included.
    Release date TBC but likely to be around November.

    FREE SHIPPING This item has FREE UK shipping!

    3xCD Info: Hardbook Wallet Case with Lyric Booklet.

    The Lemon Twigs

    Go To School

      The Lemon Twigs emerged in 2016 with their debut LP, Do Hollywood, which was praised by Rolling Stone for its “toting hooky songs that stand out for their intricate arrangements and delectable melodies” and NPR Music who mused, “like listening to music from a time that never was…a baroque rock romp.”

      Their second album, Go To School is their most ambitious work yet; a conceptual musical, conceived by brothers Brian and Michael D’Addario, which tells a heartbreaking coming of age story of Shane, a pure of heart chimpanzee raised as a human boy as he comes to terms with the obstacles of life. Todd Rundgren and their real-life mother Susan Hall play Shane’s parents. The album also features contributions from Jody Stephens (Big Star), Natalie Mering (Weyes Blood) and their father Ronnie D’Addario.

      FORMAT INFORMATION

      Indies Exclusive LP Info: Indies exclusive includes bonus 7" featuring "Foolin' Around" / "Tailor Made".

      The Amps

      Pacer

        Released in the immediate aftermath of the runaway success of The Breeders’ platinum-selling second album ‘Last Splash’ and the Pixies calling it a day the first time round, The Amps are an important part of the Kim Deal canon.

        First intended as a solo project, The Amps instead grew into a fully-fledged band with Jim MacPherson from The Breeders joining on drums and Dayton, OH musicians Luis Lerma and Nate Farley on bass and guitar respectively. Releasing just one album, ‘Pacer’, in 1995 and after a whirlwind of touring with the likes of Foo Fighters, Guided By Voices and Sonic Youth, Kim returned them to the shelf, leaving behind one of her most intriguing chapters.

        A glorious record whose charm has only grown since release, ‘Pacer’ captures Kim energised by a new band and no pressure, recording with purpose in seven studios with a different engineer each time. The resultant record is both raw and undeniable, with Kim’s songwriting arguably at its most cryptic and personal. Don’t be fooled by its casual lo-fi veneer too, underneath lies one serious record that never dips or lacks purpose. With this first vinyl repress on 4AD, ‘Pacer’ is finally getting the reappraisal it richly deserves

        “Like Arthur Russell before them, they give equal floorspace to the spiritual and the sensual.” Pitchfork

        Gang Gang Dance – one of the most enduring and creatively vibrant musical acts of 21st Century New York – return with brand new album, Kazuashita.

        Formed initially as an improvisational outfit in the early 2000s, Gang Gang Dance are Lizzi Bougatsos, Brian DeGraw and Josh Diamond. All independently operating artists in their own rights, they consistently blur the boundaries between music and art; as comfortable today performing at the Whitney Biennial as they are at Coachella, and count Dash Snow & Nate Lowman, Tinchy Stryder and the Boredoms as previous collaborators.

        Held together by Lizzi Bougatsos and her otherworldly vocal, Kazuashita is an intoxicating mix of ethereal shoegaze and electronic ambience, self-produced by Brian DeGraw.

        STAFF COMMENTS

        Barry says: Seguing brilliantly between a swooning electronic swell and clicking, glitched-out histrionics, GGD manage to toe the line between downbeat post-shoegaze electronics and more driven elements without batting an eyelid. Perfectly balanced and brilliantly evocative.

        Sohn

        Hue / Nil

          Ahead of his European tour beginning in April, SOHN releases two new tracks - the lilting pianoled lament of ‘Hue’ and companion track ‘Nil’.

          The Breeders

          Pod

            The Breeders were formed by The Pixies Kim Deal and Throwing Muses Tanya Donelly. This was their debut album originally released by 4AD in May 1990. The album, produced by Steve Albini combines the energy and angular pop sensibilities of their other bands, bolstered by creative songwriting and clever arrangements. It features iconic Vaughan Oliver artwork.

            The Breeders

            Mountain Battles

              Fourth studio album, originally released in April 2008. This reissue of ‘Mountain Battles’ includes 12” size, 28 page booklet.

              The Breeders

              Title TK

                Originally released by 4AD in May 2002. The Deal sisters recruited new personnel to play several live shows in 2001 and returned to the studio with guitarist Richard Presley, bass player Mando Lopez and drummer Jose Medeles to record this third Breeders studio album with Steve Albini.

                The Breeders

                Last Splash

                  Originally released by 4AD in August 1993, ‘Last Splash’. By the time this album was released, Tanya Donelly had left the band to for Belly and Kim Deal had been joined by her sister Kelley. The album features possibly their best known song, the late 90s indie-disco classic ‘Cannonball’.

                  Daughter

                  Music From Before The Storm

                    THIS IS A RECORD STORE DAY 2018 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                    2LP clear vinyl in gatefold sleeveFirst physical release for Daughters atmospheric original soundtrack to the second instalment of the popular Life is Strange video game. 

                    The National

                    Boxer Live In Brussels

                      Previously unreleased live version of the bands Boxer album performed in full - recorded at Forest National, Brussels, Belgium, 09 November 2017

                      FORMAT INFORMATION

                      2xColoured LP Info: LP in mirri-board sleeve

                      Cocteau Twins

                      Head Over Heels - Vinyl Reissue

                        4AD are repressing two more Cocteau Twins’ albums on vinyl this coming March, the albums Head Over Heels and Treasure. Both following on from the recent reissues of Blue Bell Knoll, Heaven or Las Vegas, Tiny Dynamine / Echoes In A Shallow Bay and The Pink Opaque.

                        Using new masters created from high definition files transferred from the original analogue tapes, both albums are being pressed on 180g heavyweight vinyl and come with download codes.

                        Head Over Heels:
                        Released in late-1983, Head Over Heels is the Cocteau Twins’ second album and features classic tracks ‘Sugar Hiccup’ and ‘Musette And Drums’. Coming not long after original bassist Will Heggie had departed the band, the chemistry between remaining members Elizabeth Fraser and Robin Guthrie was flourishing and by moving the band on from the starkness of their debut, they were now making the music that would help them define the decade ahead; her wordless, dreamlike vocals a powerful instrument over his lush, textured guitars their trademark.

                        Cocteau Twins

                        Treasure - Vinyl Reissue

                          4AD are repressing two more Cocteau Twins’ albums on vinyl this coming March, the albums Head Over Heels and Treasure. Both following on from the recent reissues of Blue Bell Knoll, Heaven or Las Vegas, Tiny Dynamine / Echoes In A Shallow Bay and The Pink Opaque.

                          Using new masters created from high definition files transferred from the original analogue tapes, both albums are being pressed on 180g heavyweight vinyl and come with download codes.

                          Treasure:
                          The band returned to being a trio in 1984 with guitarist Simon Raymonde joining their ranks in time for third album, Treasure. Produced by Robin Guthrie and featuring tracks ‘Lorelei’, ‘Ivo’ and ‘Persephone’, Treasure is often celebrated as one of the band’s finest works.

                          As Pitchfork put it when including the album in their Top 100 Albums of the 1980s, “Treasure was titled simply enough. An adjective for the endlessly inventive melodic lines you'd find buried in these songs, and a verb for what you'd do with them for years to come.”


                          STAFF COMMENTS

                          Andy says: Amazing record. Stunningly beautiful tunes and voice, incredible guitars, and not one bad track. We thought we'd all died and gone to heaven when this came out in the early 80's!

                          All Nerve – the first new album from The Breeders in a decade – reunites band members Kim and Kelley Deal, Josephine Wiggs and Jim Macpherson, the line-up behind the iconic and platinum-selling record, Last Splash.

                          The quartet returned to the stage in 2013 to celebrate the album’s 20th anniversary and have been quietly working on new material since then.

                          Featuring singles ‘Wait in the Car’ and title track ‘All Nerve’, recording took place at Candyland, Dayton, Kentucky, with Mike Montgomery; Electrical Audio, Chicago, with Steve Albini and Greg Norman; and with Tom Rastikis at Fernwood Studios, Dayton, Ohio. Artwork was conceived by Chris Bigg, who has worked with The Breeders since their first album, Pod.

                          STAFF COMMENTS

                          Barry says: It's hard to not to get tingles down the spine when hearing Kim Deal's voice. As one of the most recognisable vocals in grunge history. Deal's role in the pixies was unarguably important, but this really takes that iconic backing vocal and brings it rightfully to the forefront. This is a confident, rocking delight, as nuanced as it is heavy.

                          FORMAT INFORMATION

                          Coloured LP Info: limited LP version pressed on 180g orange vinyl and with different artwork is available exclusively for independent stores.

                          LP Info: 180g black vinyl LP.

                          2017 marks a decade of U.S. Girls, the protean musical enterprise of multi-disciplinary artist, Meg Remy. Today, Remy announces details of her sixth studio album In a Poem Unlimited, which will be released on 16th February 2018, plus the official video for a new U.S. Girls song, ‘Velvet 4 Sale’.

                          Remy’s second release for 4AD, which also includes her recently released single, ‘Mad As Hell’ – a clarion call for pacifism – was tracked in collaboration with Toronto-based instrumental collective the Cosmic Range, and features arrangements by long-time contributors Maxmilian Turnball and Louis Percival. The dizzying buffet of live grooves on In a Poem Unlimited represents an inversion of the dusty, sample-based minimal textures of Half Free, Remy’s euphoric 4AD debut. Steered into focus by Remy and mixer/co-producer Steve Chahley, Poem features disco employed as a protest vernacular (‘Mad As Hell’), as well as an unrelenting assault (‘Time’); moody, slow-burning funk (‘Velvet 4 Sale’ & ‘L-Over’) and earnest synth anthems ‘Rosebud’ and ‘Poem’, which form the album’s emotional core.

                          Poem features dark meditations reflecting charged atmospheres that directly precede and follow acts of violence. Many of the songs are character studies of women grappling with power; how to gain and exert it spiritually, as well as desperate strategies to mitigate its infliction. Remy also rallies against the public lies told by political and religious leaders, and more crucially, questions the lies we tell ourselves in order to survive. While U.S. Girls, denoting the plural, is no longer a misnomer, In A Poem Unlimited may be Remy’s most individually distilled protest to date.

                          Following ‘Mad As Hell’, Poem album opener ‘Velvet 4 Sale’ is released today. The song concerns a female narrator imploring another to buy a gun for protection, impressing that the only way to change men is for women to use violence. Remy says, “Men are lucky women (and children) have yet to take up arms. And although I hope this never happens and I completely disagree that violence is ever effective, this very idea was ripe for a song.”

                          The accompanying video explores the idea of acknowledgement as a form of retribution, a counterbalance more powerful than violence itself. Remy plays a police officer who discovers that a fellow cop who has beaten his wife will be left off the hook as a “professional courtesy”. By the power of her unrelenting gaze she banishes the abuser in the final images of this powerful and provocative video. This striking tableau representing the power of bearing witness ties back into the album’s underlying theme; that truth and acknowledgement are our most potent and corrosive weapons in the fight against repressive inequality. Remy’s work with this video (which she co-directed with Alex Kingsmill) and the album as a whole, illustrate and seek to inspire the taking up of these moral arms.

                          STAFF COMMENTS

                          Barry says: This superb new outing from Meg Remy in her U.S Girls moniker sees snappy guitar falling under a landslide of heavy-rock power chords and scattered electronic elements, whilst still retaining all of it's cohesion and grace. More percussive numbers sit happily alongside the more folky, quiet pieces without skipping a beat.

                          Tune-Yards

                          I Can Feel You Creep Into My Private Life

                          Officially now a duo, Merrill Garbus is joined by long-time collaborator Nate Brenner. Their new album, I can feel you creep into my private life, tackles race, politics, intersectional feminism and environmental prophecies head on. But in the billows of intense subject matter, the album is their most immediate and upbeat yet – this is Tune-Yards’ music to dance to.

                          The follow-up to 2014’s acclaimed album, Nikki Nack, much of I can feel you creep into my private life was recorded at John Vanderslice’s new Tiny Telephone studio in their hometown of Oakland, CA. To help finish this stunning record, they enlisted mixer Mikaelin “Blue” Bluespruce (Solange, Skepta, Kendrick Lamar) and mastered it in Harlem, NY with Dave Kutch (Jay-Z, Chance the Rapper).

                          STAFF COMMENTS

                          Barry says: Sliding from floor-filling disco into hefty futuristic urban breakdowns within the space of a couple short minutes, this takes all the influence from an astounding line-up of collaborators, but manages to sound EXACTLY like tune-yards at their very best. Essential

                          Various Artists

                          Revue (Methyl Ethel / D.D Dumbo / The Lemon Twigs / Pixx)

                            Originally given away free to the first 100 fans through the door at the 4AD showcase Revue, Irving Plaza, New York, NY. 

                            We have a handful of copies at a super cheap price!!!!

                            Never before pressed on vinyl, "IBM 1401, A User's Manual", is one of Jóhann Jóhannsson’s most loved works. Released in 2006, the decade since its release has seen Jóhann establish himself as one of the most important composers in the World today, most notably scoring movies such as Arrival, Sicario and The Theory of Everything.

                            Inspired by the work his father did in the sixties when chief maintenance engineer of one of Iceland’s first computers, Jóhann originally wrote "IBM 1401, A User's Manual" to accompany a dance piece by long-standing collaborator and friend, Erna Ómarsdóttir. For this album release, he rewrote it for a sixty-piece string orchestra, with a new final movement (built around a poem by Dorothy Parker) and incorporating both electronics, and reel-to-reel recordings made by his father and friends in 1971 of an enormous IBM 1401 mainframe computer singing the hymn Ísland Ögrum Skorið by Sigvaldi Kaldalóns as it was being decommissioned.

                            The first ever pressing of "IBM 1401, A User's Manual" comes in a deluxe gatefold sleeve, having been reworked by Chris Bigg (v23) from his original design. Pressed on clear vinyl, two album tracks recorded in 2010 with the City of Prague Philharmonic Orchestra at the Rudolfinum, Dvorák Hall in Prague have also been added and are exclusive to this release.


                            Torres

                            Three Futures

                              Torres is the creative alter-ego of Brooklyn-based Mackenzie Scott. In describing the album, Scott says it “is entirely about using the body that each of us has been given as a mechanism of joy.” The 10 original tracks on Three Futures embrace ecstasy, desire and indulgence rather than self-denial, and exude this idea via immersive music. Mechanized grooves are placed at the forefront, providing a framework for perforated electro-pop static, harsh gothic / industrial textures, and insistent Krautrock motifs.

                              For Three Futures, Scott reconnected with producer Rob Ellis (PJ Harvey), who worked on TORRES’ last album Sprinter, to record in Stockport and Dorset. David Tolomei (Beach House, Future Islands) mixed the album.

                              STAFF COMMENTS

                              Barry says: Innately listenable synth-pop / indie goodness on this newest one from all-round bon oeuf and songwriter extraordinaire Torres. It's a heartfelt and beautiful distillation of sexuality, companionship and brilliantly effusive melodicism. Would listen again.

                              The Lemon Twigs

                              Brothers Of Destruction

                                The new EP from The Lemon Twigs, Brothers of Destruction, features six previously unreleased tracks. It was recorded by the D’Addario brothers – Brian (20) and Michael (18) – on their 8-track at home in New York, not long after they finished making their acclaimed debut album, Do Hollywood, with Foxygen’s Jonathan Rado in Los Angeles.

                                “In the beginning of 2015, we had songs left over from the Do Hollywood sessions, so we decided to record them at home in New York on our 8-track. Many of you will recognise some of the songs from our live shows. They’ve changed a lot over the past year, but these are the original versions. We consider the EP the last chapter of the Do Hollywood era of our group.”

                                The National return with their much anticipated seventh album, produced by Aaron Dessner, with additional production by Matt Berninger and Bryce Dessner. The album was mixed by Peter Katis and recorded at Aaron’s Long Pond studio in Hudson Valley, NY.

                                While in some ways it’s typically National-sounding, they’ve definitely added some new elements to their sound. Opening track “Nobody Else Will Be There” is a stripped back ballad with melancholic piano, and Matt’s distinct vocals, but the electronics pulsing away in the background are a sign of what’s to come with the album.

                                All the usual elements are there, intricate guitars, delicate piano keys, scatter-shot drums and of course Matt’s mumbling/crooning baritone, but a new layer of electronics bubbling away in the mix adds a new dimension to their sound.

                                As with the last couple of albums, it features mostly fairly downtempo ballads but they do ramp things up from time to time: “Day I Die”, “They System Only Dreams In Total” and the big rock-out track of the album, “Turtleneck”. It’s taken a few listens to get into it, but as a fan I’m certainly not disappointed.

                                STAFF COMMENTS

                                Laura says: While in some ways it’s typically National-sounding, they’ve definitely added some new elements to their sound. All the usual elements are there, intricate guitars, delicate piano keys, scatter-shot drums and of course Matt’s mumbling/crooning baritone, but a new layer of electronics bubbling away in the mix adds a new dimension to their sound.

                                FORMAT INFORMATION

                                2xColoured LP Info: INDIE EXCLUSIVE limited run edition pressed on BLUE vinyl. Comes in a gatefold sleeve, and includes a download card and poster.

                                2xLP Info: Standard edition pressed on white vinyl. Comes in a gatefold sleeve, and includes a download card and poster.

                                Sufjan Stevens, Bryce Dessner, Nico Muhly, James McAlister

                                Planetarium

                                Flanked by a string quartet and a consort of seven trombones, this unique collaborative ensemble have assembled an expansive song cycle that explores the Sun, the Moon, the planets and other celestial bodies of our solar system (and beyond) through soundscape, song, science and myth.

                                The subject of the album is not just the wilderness of outer space, but also the interior space of human consciousness and how it engages with divinity, depravity, society and self - what does it mean to be human?

                                A musical and aesthetic journey as far-reaching as its subject: from lush piano ballads to prog-rock political anthems, curious electronic backbeats to classical cadenzas, which occasionally give way to ambient interludes and majestic brass chorales, buttressed by a percussive drive that keeps the momentum skyward.

                                In spite of all the experimentation in sound and style, Sufjan’s vocals provide a clear and coherent centre of gravity, and includes some of his most diverse vocal performances to date (from soft hush to guttural scream); whether he’s singing through effects pedals, vocoders, auto-tune or not, his voice delivers an ambitious flight map through the cosmos.

                                STAFF COMMENTS

                                Barry says: Conceptually intimidating but perfectly executed suite of space themed pieces, bold and tender in equal measure, beautifully composed and impeccably performed by a superbly talented bunch of some of the best musicians of modern times.

                                FORMAT INFORMATION

                                2xDeluxe LP Info: Deluxe double LP edition is pressed on heavyweight vinyl and includes six 12" art inserts and a download card.

                                PIXX

                                The Age Of Anxiety

                                First appearing in late 2015 with the Fall In EP – which was hailed by The Sunday Times as “one of the most arresting debuts of the year” – Pixx (AKA Hannah Rodgers) has since released some more tracks to further intrigue and started to spend a lot of time out on the road, most notably tours with the likes of Daughter, Glass Animals and Youth Lagoon.

                                The Age Of Anxiety is Pixx’s debut album, and it finds her ostensibly place herself on the outside, looking in. Including the singles ‘I Bow Down’ and ‘Baboo’, the twelve-song collection seeks to address a generation increasingly isolated by an unprecedented new world order, from the pressures of social media to ever-changing political turbulence. A bold debut, it borrows its title from W.H. Auden’s final poem which was published in 1947, which charted one man’s quest to find substance and identity in a shifting and increasingly industrialised world.

                                “Pixx possesses the same celestial qualities as fellow label-mates Cocteau Twins or Blonde Redhead with a little astral, new age aesthetic of Grimes, and the gothic melancholy of Bauhaus.” The Guardian

                                Igniting interest with her eponymous debut album released just two years ago, Auckland’s Aldous Harding has become known for her sinister torch songs, gentle laments and eerie odes delivered with a charismatic combination of hubris, shrewd wit and quiet horror.

                                Produced by John Parish (PJ Harvey, Sparklehorse) in Bristol, a world away from her New Zealand home, Party introduces a new talent to the stark, dramatic realm where Kate Bush and Scott Walker reside. As well as contributions from Parish, Perfume Genius’s Mike Hadreas also lends vocals to the aforementioned ‘Imagining My Man’ and album closer ‘Swell Does The Skull’.

                                STAFF COMMENTS

                                Barry says: Beautifully produced brittle organic compositions, rich with orchestral accompaniment, emotive vocal outpourings and sensitively tackled emotional heft. The languid gothic morosity of slow-builders like requiem 'Horizon' being skilfully and effectively offset with less gloomy but equally brittle numbers, balancing the weight from a cornucopia of unsettling heft into a smooth, and varied ride. Brilliant.

                                FORMAT INFORMATION

                                Indies Exclusive LP Info: Limited indie store exclusive edition includes a one-sided 7” of brand new track, ‘Elation’.

                                Indies Exclusive LP includes MP3 Download Code.

                                Future Islands

                                The Far Field

                                Future Islands are Samuel T. Herring (vocals, lyrics), William Cashion (bass, guitars) and Gerrit Whelmers (keyboards, programming).

                                Recorded in Los Angeles with GRAMMY award-winning producer John Congleton at the legendary Sunset Sound (where everyone from The Beach Boys to Prince have laid down masterpieces), The Far Field’s twelve chest-pounding love songs and odes to the road brilliantly express the central themes the band have been exploring for the last decade: that there is power in emotional vulnerability, that one can find a way to laugh and cry in the same breath – and be stronger for it.

                                The Far Field features string and horn arrangements by Patrick McMinn and is their first record to feature live drums by Michael Lowry, who joined the band prior to their sensational performance of ‘Seasons (Waiting On You)’ on David Letterman’s late night TV show and has remained a fixture since. Blondie’s Debbie Harry also makes a guest appearance, in a duet with Herring on penultimate track ‘Shadows’.

                                STAFF COMMENTS

                                Barry says: Whilst I know the lead singer of Future Islands has enchanted people with his 'Grandad after 7 sherries' stage-swagger, it is the music here that is truly the star (thank goodness). Slightly gothic atmospheres, soaring synths and plenty of late-80's plate reverbs. Dark but driven indie for the eye-makeup crowd.

                                FORMAT INFORMATION

                                Coloured LP Info: Limited edition 180 gram white vinyl.

                                Bing & Ruth

                                No Home Of The Mind

                                Ever-evolving, Bing & Ruth is steered by composer David Moore, a pianist from Kansas and graduate of New York’s school of Jazz and Contemporary Music at the New School.

                                Their line-up has transmuted from the eleven-strong line-up that created debut album City Lake (“A stunning, humble record built on traditions we all understand, yet, somehow feels dizzyingly new.” – The Quietus) to a cast of seven for 2014’s Tomorrow Was The Golden Age (“One of the finest leftfield releases of the year.” – Pitchfork).

                                With No Home of the Mind, the ensemble has been streamlined to five and, after a year of heartfelt composition and with everything meticulously rehearsed in advance, the whole album was recorded in two days and in the fewest takes possible. An attempt to recreate the immediacy of classic session-style musicianship, where one-take recordings were a standard to keep costs down, No Home of the Mind explores piano’s percussive qualities alongside running woodwinds, warbling tape delays and splattered upright bass lines that stare out with a wide-eyed transcendence, taking so-called “classical” music to new limits.

                                STAFF COMMENTS

                                Barry says: A beautiful suite of brittle modern-classical drones and twinkling piano, crafted together with subtlety and grace. A startling and riveting journey, filled with moments of tentative meditation and glimmers of pure joy.

                                Two years after the release of his celebrated debut album Tremors, SOHN is back with Rennen.

                                In between records, the London-born artist has traded Vienna for the warmth of Los Angeles, but the influence of his former home still lingers (Rennen is a German verb meaning ‘to run’). Resuming a nocturnal schedule – as he did with Tremors – SOHN spent a month writing alone in northern California, recording until the morning most days. Including singles ‘Signal’ and ‘Conrad’, the ten songs of Rennen are confidently direct and focused. Consciously exercising restraint, he has used only a handful of musical elements on each track, eager to allow the spotlight to shine on the vocals, melodies and rhythms.

                                An ambitious exhibition of both his personal and artistic growth, Rennen confidently displays the evolution SOHN has undergone in just two short years. It's also a starter's pistol ringing out loud and clear with an unmistakable message: it's time to run again, and he’s ready.

                                STAFF COMMENTS

                                Andy says: Deep, thoughtful, electronic soul from the London born producer.

                                Do Hollywood is the eagerly anticipated debut album from brothers Brian (19) and Michael (17) D’Addario.

                                Hailing from Long Island, NY, Brian and Michael have been playing rock music since they were old enough to walk and talk, mastering every instrument they could get their hands on and writing and performing everything together (they alternate writing credits and instruments on Do Hollywood).

                                Recorded in Los Angeles, CA, with production by Jonathan Rado of Foxygen, they mine inspiration from every era of rock, crafting richly sophisticated baroque-pop songs into a ten-track tour de force.

                                STAFF COMMENTS

                                Barry says: Exciting and hip-shaking alt-indie anthems akimbo. Solemn sounding mumbled vocals over jangly early-Floydian chantfests, progressive crescendoed melodies and twee grooving intermissions. Deliciously low-fi but thoroughly engrossing sunny summer vibes.

                                FORMAT INFORMATION

                                Indies Exclusive LP Info: Preorder the album and get an exclusive 7" featuring 2 tracks: "These Words" and "As Long As We're Together".

                                Indies Exclusive LP includes MP3 Download Code.

                                LP Info: Includes MP3 download code.

                                When Castlemaine’s Oliver Hugh Perry released his self-recorded debut EP, ‘Tropical Oceans’, D.D Dumbo was born. Led by the spooky strut of the title-track, the lo-fi four song-set of blues-laced, deconstructed pop announced Perry as an exciting newcomer fluent in a language all his own. People took notice and soon he was performing solo with a 12-string electric guitar, two drums and a bunch of effect pedals and on tour with the likes of Daughter, Iron & Wine, Jungle, St Vincent, Tame Impala, tUnE-yArDs and Warpaint.

                                ‘Utopia Defeated’ is his debut album, an epic, sprawling opus sprung from Oliver’s imagination, written and performed almost entirely by him. Based in the 4AD Studios in London, the album was recorded, engineered and produced by Perry and 4AD’s resident engineer Fabian Prynn.

                                Featuring the singles ‘Satan’ and ‘Walrus’, the tentrack album hurdles effortlessly over the expectations set by his intriguing debut EP. In an early review, Uncut magazine heralded it as “a looping, globally attuned 2016 update of Jeff Buckley’s ‘Grace’.”

                                Galvanized by Tampa hardcore and inspired by its miscreant noise, A Corpse Wired For Sound signals a new chapter for Merchandise. Their second for album 4AD, Merchandise have stripped back to the core of Carson Cox (vocals, electronics), Dave Vassalotti (guitar, electronics) and Pat Brady (bass) to make A Corpse Wired For Sound. The trio travelled to Rosà, Italy to start proceedings, recording half in a studio there and the rest at home, in Tampa as well as in Cox’s newly adopted bases of New York and Berlin.

                                The album’s metallic title is inspired by a science fiction short story by JG Ballard, but equally sums up the band’s current state of mind; “we were ‘reborn’ as a rock band for our last record (After The End)," says Vassalotti, “and then we straight-up died again. It couldn’t last. The result is this distended corpse responding to you from both sides of the Atlantic, forever singing in spite of everything.”



                                FORMAT INFORMATION

                                Indies Exclusive LP Info: One-time limited blue vinyl pressing.

                                Scott Walker

                                The Childhood Of A Leader - Original Soundtrack

                                Scott Walker follows his remarkable collaboration with Sunn O))) with this remarkable soundtrack to Brady Corbet’s directorial debut, Walker’s first score work since the Pola X soundtrack in 1999.

                                Partly inspired by Jean-Paul Sartre’s short story of the same name, The Childhood of a Leader is a tense psychological drama tracing the formative years of a young boy and set against the backdrop of the 1919 Paris Peace Conference that led to the establishment of the Treaty of Versailles.

                                Walker continues to work with long-term collaborators Peter Walsh (co-producer) and Mark Warman (musical director), with the latter conducting an orchestra comprised of 46 string players and 16 brass for the studio recording.

                                FORMAT INFORMATION

                                Indies Exclusive LP Info: Limited edition clear vinyl.

                                ‘This Moment’ is the first album by Danish artist Søren Juul to be released under his own name, having previously recorded using the moniker Indians.

                                A deeply personal account of Juul’s life over a tumultuous three-year period, ‘This Moment’ was recorded mainly in Copenhagen and finished in Los Angeles with producer and fellow Dane Peter Stengaard. An uplifting and redemptive work, the immersive soundscapes of the songs reach heights Juul’s work under Indians had hinted at.

                                As Indians, Juul released the acclaimed album ‘Somewhere Else’, scored the stunning song ‘Oblivion’ for the major motion picture ‘The Fault In Our Stars’, composed works for the Copenhagen Philharmonic and was nominated in four categories for the prestigious Danish music awards Gaffa Prisen. He also toured the world with the likes of Beirut, Daughter, Julia Holter and Perfume Genius.

                                Methyl Ethel

                                Oh Inhuman Spectacle

                                New to 4AD, Australian trio Methyl Ethel’s celebrated debut album is being given a worldwide release. Hailing from the remote fringes of Perth in Western Australia, band linchpin Jake Webb - like 4AD peers Grimes and Bradford Cox before him - wrote, played and recorded everything on ‘Oh Inhuman Spectacle’.

                                Crafted in isolation, the album’s understated psychedelic pop quickly drew plaudits, leading Webb to recruit Chris Wright (drums) and Thom Stewart (bass) - friends from the tight-knit and thriving music scene in Perth - to help realise the songs live as a full-fledged band.

                                Having gained notable success in Australia including being nominated for the prestigious Australian Music Prize and taking Laneway Festival by storm, Methyl Ethel are now poised to take their music overseas with the worldwide release of ‘Oh Inhuman Spectacle’ and a huge run of touring in both Europe and North America to coincide.

                                STAFF COMMENTS

                                Barry says: Like a modern, indiefied iteration of Syd Barrett with the melodic intonations of the ghosts of post-punk. Woozy rhythms and fuzzed-out basses, twirling arpeggios meet chugging guitars and soaring strained vocal melodies. Definitely one to keep an eye on.

                                Lush

                                Origami

                                  THIS IS A RECORD STORE DAY 2016 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                  Formed in London in 1988 by childhood friends Emma Anderson and Miki Berenyi, Lush expertly fused melody and guitars to create a sound that was christened ‘shoegaze’ well after they released their first records.

                                  Over the course of a decade, the band (which also included Chris Acland on drums and Steve Rippon on bass, later replaced by Phil King) released three studio albums – ‘Spooky’ (1992), ‘Split’ (1994) and ‘Lovelife’ (1996) – to growing critical and commercial success.

                                  In addition, they put out a mini-album ‘Scar’ (1989) and a string of Eps that were used to create the compilations ‘Gala’ (1990) and ‘Topolino’ (1996), two albums that would ultimately bookend their story. Following the tragic death of Chris Acland in late 1996, the band were left too grief-stricken to continue, calling time shortly after.

                                  With the passing of almost twenty years, Lush are a band long overdue celebration. Coinciding with the news that the remaining members are reuniting, ‘Origami’ will delight fans further by finally bringing the band’s album catalogue back in to print on vinyl.

                                  All five LPs are being pressed on a different colour of vinyl and will come housed in a beautiful laminated box as designed by long-time associate and former v23 collaborator Chris Bigg.

                                  Furthermore, exclusive to ‘Origami’ their final album, ‘Topolino’, gets its first ever LP pressing and a bonus ten-track download album of previously unheard home demos.

                                  Limited to 500 copies. Includes download codes for all the albums.

                                  Liima is a new band formed by Finnish percussionist Tatu Rönkkö plus Mads Brauer, Casper Clausen and Rasmus Stolberg of Danish act Efterklang.

                                  Their debut album, ii, features songs written in Finland, Berlin, Istanbul and Madeira during four week-long residencies, with each one ending with a live concert, performing the freshly written songs in front of an audience.

                                  Translated from Finnish as ‘glue’, Liima found the spontaneity of writing and performing in a limited time frame hugely liberating and took the same instinctive approach when recording this album. In October 2015, the band along with producer Jonas Verwijnen headed to Vox-Ton studio in Berlin, recording the album in just three days, playing everything together live with no overdubs. ii was mixed to tape by Francesco Donadello.

                                  This trio comprises of The National's rhythm section, brothers Scott and Bryan Devendorf along with Trombonist / arranger Ben Lanz who has worked with Beirut and Sufjan Stevens amongst others.

                                  LNZNDRF’s debut is rock minimalism meets sonic maximalism. Recorded in a church in Cincinnati over two and a half days, the eight songs on the album were improvised with a vital spirit harking back to the reason the members became musicians in the first place.

                                  The songs, which were edited from 30+ minute jams, evoke the essence of their expansive, largely improvised live shows.

                                  STAFF COMMENTS

                                  Laura says: OK I may have been massively stereotyping bassists and drummers, but I really wasn't expecting an album from The National's rhythm section to be that interesting. Surely they just provide the background for Matt and the Dressner brothers creative stuff? Well it seems I was wrong, as they've teamed up here with Ben Lanz from Beirut to create a really good moody, atmospheric, Kraut-infused album. And before you ask, no I don't know how you pronounce the name.

                                  Nearly three years after the release of their debut 'If You Leave', Daughter – the London-based trio of Elena Tonra, Igor Haefeli and Remi Aguilella – will return in 2016 with a new album, entitled 'Not To Disappear'.

                                  'Not To Disappear' is Daughter’s second album and finds the band making confident strides forward both sonically and lyrically. Elena, Igor and Remi spent a summer in New York recording 'Not To Disappear' with Nicolas Vernhes (Deerhunter, War On Drugs, Animal Collective) at his Rare Book Room studio in Greenpoint, Brooklyn.

                                  STAFF COMMENTS

                                  Millie says: An amazing album by the very talented Daughter, it’s expressive and emotional throughout. More progressive and experimental from their previous album, ‘Not to Disappear’ is filled with devotion. Absorbing and beautiful, I would recommend it to anyone.

                                  FORMAT INFORMATION

                                  LP Info: The vinyl includes a download code.

                                  As Marylin Manson once said, "This Is The New Shit"! Grimes is back in the house, beating up your speaker stack at her batshit best. Faced with the tricky decision of how to follow up her trend setting, hot cake-like selling breakout smash "Visions", the now LA-based musician took the obvious route of synth-baroque chamber music. Well at least on oddball opener "Laughing And Not Being Normal". From there we accelerate through the whole host of iPod-friendly pop, from country EDM, through baile funk and nu disco to chill out. But before you lose faith that the mighty Grimes has fallen in with the wrong crowd since her move to LA, all those mainstream tropes are perfectly subverted with a well judged post modern subtlety, while retaining all the hooks, riffs and melodies which makes pop, well, popular. Spanning over 14 tracks "Art Angels" features collaborations with Janelle Monáe and newcomer, Taiwanese rapper Aristophanes, but like all of her previous albums was written and recorded entirely as a solo endeavour. The new album features more live instrumentation than ever before with Grimes playing piano, guitar and violin and continuing her evolution as a musician and a producer for her most ambitious album to date.

                                  STAFF COMMENTS

                                  Millie says: The pop sensation Grimes’new album was an instant hit, her electro style remains but comes back with even more pop-power (which I didn’t think was even possible!) It has a feisty cartoon anime vibe, extravagant reverb and dreamlike lyrics for her angelic vocals.

                                  FORMAT INFORMATION

                                  LP Info: The vinyl includes seven art prints and a download code.

                                  LP includes MP3 Download Code.

                                  It’s December 2013, and Zach Condon is in an Australian hospital. He’s at the tail end of a 3-year non-stop world tour, suffering from health problems brought on by severe exhaustion, fighting through a messy divorce, and is trying in vain to escape the reality that’s dismantling around him and within him. From the hospital, he makes the difficult decision to cancel the rest of the tour. “I had completely broken down and my body was making me pay for it,” Condon recalls from his east Williamsburg home. Ironically, the artist so widely recognised for breaking geographical boundaries was being undone halfway around the world. Pensively, Condon concludes, “For the first time in my life, I was facing extreme self doubt. I had hit rock bottom.”

                                  Met with enormous success at age 19, Condon’s career up to that point had been relatively smooth sailing. But now post Australia he finds himself back at home in Brooklyn and unable to write songs. It was 2014, and at age 28 he found himself completely lost. “I couldn’t fathom how one day I was capable of it and one day I wasn’t,” Condon remarks. The darkness clouding his physical and mental health had fully infected his creative and artistic abilities.

                                  But this darkness contained a spark of light: he had fallen in love with a woman who inspired him to turn it around. Condon recalls, “having a positive presence like her both provides a healthy guiding force and shines a light on all the negative things in your life. I definitely wouldn’t be where I am now without her.” The two retreated to Turkey Summer of 2014, which proved to be the ultimate keystone in his personal renewal. It has since become their second home, providing perspective in both geographical and political landscapes. He was taken in and cared for by her family there for months (she is Turkish), and given a home base to build around, all during the summer of the Gezi Park riots.

                                  Upon returning, still not fully himself, Condon would find himself uncertain, this time in the studio. “I would turn my phone off and be holed up in my rehearsal space alone for days at a time,” says Condon, “and come out with nothing.” He would compose and discard entire albums’ worth of material. For Condon, the songs needed to be born from melody, and if the melodies weren’t coming, the songs would never transpire.

                                  So, with his back against the proverbial wall, Condon began a new approach, starting from scratch in Fall 2014 with nothing but an open mind and the musical camaraderie of bandmates Paul Collins (bass) and Nick Petree (drums). For two full months they hammered away daily, creating the foundations for what would evolve into No No No (as well as countless songs that would carpet the cutting room floor).

                                  With winter approaching, he booked two weeks at a studio that, by sheer chance and unbeknownst to him, was located a few blocks from his home. This proximity would prove crucial, as the two weeks of recording turned out to overlap with some of the worst winter weather in NYC history – it was one of the coldest and snowiest on record – a fitting climax to the events of the past four years.

                                  With his band by his side, No No No suddenly began to take shape, creating an exponentially productive excitement. Those two weeks in the studio, with blizzard after blizzard raging outside, resulted in Condon’s most vibrant and spirited record to date. On past records, Condon composed mostly on his own, electronically, building on sounds and arrangements with ProTools. This time around, the songs were constructed live, in the moment, by the band, and are more concert-ready than ever as a result. The band was significantly stripped down: guitar, piano, bass, and drums formed the bulk of the arrangements as opposed to the more obscure instruments for which he was initially known. No No No opens with a sort of tribal drum beat, quickly giving way to a more western/modern snare sound and drum machine – a subtle wink at Beirut’s own musical transformation.

                                  There’s a caffeinated exuberance throughout the entirety of the record. The opening songs are particularly upbeat and awake, reflective of Condon’s newfound clarity, so much so in fact, that the fifth song, the instrumental breather ‘As Needed’ is exactly that – a necessary intermission. The second half picks up where it left off, with effervescent percussion across pop songs, often led by bubbly piano lines that showcase Condon’s development as a pianist.

                                  If the darkest hour is right before the dawn, Condon’s dawn is the brightest point in his still-young career. He’s found his true artistic identity as a songwriter – one that greatly abandons many of the formulas for which he was first known. The songwriter within Condon has always been there, albeit sonically veiled on past records. It’s never been presented so prominently, and finds Beirut on its most stable and convincing footing yet.

                                  FORMAT INFORMATION

                                  Indies Exclusive LP includes MP3 Download Code.

                                  Cocteau Twins

                                  Tiny Dynamine / Echoes In A Shallow Bay

                                    With a history of releasing singles between albums, the two EPs of ‘Tiny Dynamine’ and ‘Echoes In A Shallow Bay’ were originally released two weeks apart back in November 1985. Seen as companion pieces, they both acted as a precursor to the band’s fourth studio album, ‘Victorialand’.

                                    30 years later, the EPs are now being married together on to one piece of heavyweight vinyl, using new masters created from high definition files transferred from the original analogue tapes and completed with reformatted artwork. 

                                    STAFF COMMENTS

                                    Andy says: Dreams as music. One of the best bands ever.

                                    FORMAT INFORMATION

                                    LP includes MP3 Download Code.

                                    Future Islands

                                    The Chase / Haunted By You

                                      Last March the Baltimore-based trio of William Cashion, Samuel T. Herring and Gerrit Whelmers made their groundbreaking network television debut on Letterman, and they recently debuted new single ‘The Chase’ live on the show, after being personally invited back to mark one of the chat show host’s final broadcasts before his retirement.

                                      The track is released as a double A-side with another unheard song ‘Haunted By You’, which the band first performed at their recent sold out UK shows.

                                      FORMAT INFORMATION

                                      Ltd 7" Info: Just found 1 copy of this!

                                      Red House Painters

                                      Boxset

                                        THIS IS A RECORD STORE DAY 2015 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                        “One of the finest artists of his generation” - Stereogum on Mark Kozelek.

                                        This Record Store Day will see the release of Red House Painters, an LP boxset containing the celebrated output for 4AD from Red House Painters.

                                        Strictly limited to just 1,500 numbered copies worldwide – 500 for the UK / Eire - Red House Painters’ boxset contains the band’s first four albums, originally released between 1992 and 1995 – ‘Down Colorful Hill’, ‘Red House Painters (Rollercoaster)’, ‘Red House Painters (Bridge)’ and ‘Ocean Beach’ (which has been reformatted to now be a double 12” to also include the ‘Shock Me’ EP).

                                        The boxset comes with a unique design from Chris Bigg (v23), with each album being pressed on bronze vinyl.

                                        Download codes for each album are also included.

                                        With these records having been out of print for twenty plus years and now in much demand, this boxset is destined to become one of the most desirable catalogue items of 2015.

                                        FORMAT INFORMATION

                                        LP Box Set Info: 1 copy only left!

                                        To celebrate its 25th anniversary, 4AD release PIXIES: Doolittle 25, a deluxe, three-disc package that brings together for the first time all the album's B-sides, Peel Sessions and demos from the time, along with the original album. Nearly half of the tracks on this album are being commercially released for the first time.

                                        Doolittle, the second studio album from Pixies - Black Francis, Joey Santiago, Kim Deal and David Loverng - was to prove a pivotal moment for both band and the wider scene. For the few years prior, the band had enjoyed cult status in their homeland with their early records having to find their way in to the US on import. Their secret was well and truly out in 1989 though when their British label (4AD) joined forces with American giant Elektra in time for Doolittle to receive a full domestic release.

                                        Produced by Gil Norton and recorded between two studios (Downtown Recorders in Boston MA and Carriage House Studios in Stamford CT) in late-1988, Doolittle was an instant hit, containing some of the band’s most memorable singles (‘Monkey Gone To Heaven’, ‘Here Comes Your Man’, ‘Debaser’). A slow-burn success story followed, helping them to sell in excess of a million copies in the US alone.

                                        An important record, included among the many plaudits thrown Doolittle’s way was Pitchfork ranking it at Number 4 in their Best Albums of the 80s poll, while NME writers in 2004 named it their Second Best Album of All Time. The band toured Doolittle in 2009 to celebrate its 20th birthday and 5 years on from then, it’s now time to give it the deluxe release treatment it deserves.

                                        Like all other Pixies sleeves before it, Vaughan Oliver returns to oversee its design, reinterpreting his original artwork and Simon Larbalestier’s photographs to create a stunning design using metallic ink.

                                        FORMAT INFORMATION

                                        3xLP Info: Gatefold 3LP version, with three pieces of 180g black vinyl being pressed - the first containing the original album, the second, 6 B-Sides and 2 full Peel Sessions and the third being the album in complete demo form plus 3 bonus tracks. A download card is included, offering access to all LP tracks plus 4 more bonus tracks.

                                        3xCD Info: Doolittle 25 contains an impressive 50 tracks with the original album on disc one, 2 full Peel Sessions & 6 B-sides on disc two and the complete album in demo form plus 7 bonus tracks on disc three.

                                        Cocteau Twins

                                        Heaven Or Las Vegas - Remastered Vinyl Edition

                                          ‘Heaven Or Las Vegas’ followed in 1990 and was to become their most commercially successful release, reaching Number 7 in the UK Album Charts. Numerous publications have since declared it one of the best albums of the 90s, with Pitchfork calling it “a core of ungodly gorgeous songs that is every bit as moving and relevant today as it ever was.” Label founder Ivo Watts-Russell goes further, candidly revealing in the recent 4AD biography ‘Facing The Other Way’ that this album wasn’t just his favourite Cocteaus album but also his favourite all-time 4AD album and, “by a long shot,” calling it “the perfect record.” With tracks as majestic as the title track, ‘Cherry-Coloured Funk’ and ‘Iceblink Luck’, who’s to argue?

                                          STAFF COMMENTS

                                          Andy says: Their pinnacle. Out of this world. Label head Ivo Watts-Russell says it's his favourite 4AD album ever.

                                          Philippa says: Could anything be more sublime? Ethereal and dreamy, this is the Cocteau Twins' finest moment, and probably the most-played album in my collection. A record to sooth your soul...

                                          FORMAT INFORMATION

                                          LP Info: Re-pressed for the first time since release on heavyweight black vinyl. Cut from brand-new HD 96/24 masters.

                                          LP includes MP3 Download Code.

                                          Cocteau Twins

                                          Blue Bell Knoll - Remastered Vinyl Edition

                                          Released in 1988, ‘Blue Bell Knoll’ is the Cocteau Twins’ fifth studio album. Delivered after a slightly longer period between records than fans had been used to, this was the first they recorded in their own studio. Freed to now make music how they wanted and with no clock to beat, they rose to the challenge of producing it themselves with real aplomb, introducing a new pop sensibility to their sound, expressed through shorter, ‘hookier’ songs with occasionally intelligible lyrics. Sound On Sound magazine praised the band for showing “an uncanny feel for contemporary sound possibilities without making even the slightest concessions towards the mainstream.”

                                          A beautiful record that showed the band’s continued maturity, it also included one of their most enduring songs, ‘Carolyn’s Fingers’, which was reflected on the album’s cover - a close-up of their friend Carolyn’s hand as shot by Juergen Teller.

                                          STAFF COMMENTS

                                          Martin says: Liz Fraser possesses possibly the most sublime voice in the history of contemporary music, and never was it put to more exquisite use than on the peerless 'Carolyn's Fingers, the very high point of a celestial, iridescent sonic daydream.

                                          FORMAT INFORMATION

                                          LP Info: Re-pressed for the first time since release on heavyweight black vinyl. Cut from brand-new HD 96/24 masters.

                                          Daughter

                                          4AD Session

                                          Presenting the most ambitious 4AD Session to date, Daughter have unveiled a very special five-song performance recorded in London’s iconic Air Studios with composer Joe Duddell and a 10-piece classical ensemble.

                                          Last summer the London-based trio and acclaimed composer / arranger Joe Duddell were brought together by Festival No.6 to participate in a unique project. As the festival’s Composer-In-Residence Duddell, whose impressive CV has seen him collaborate with Elbow and compose for the BBC Proms, approached Daughter with an idea for the band to perform classical versions of their songs. Daughter, who have always wanted to explore this area, agreed to his proposal immediately. With the green light given, Duddell set about crafting classical arrangements for five tracks from Daughter’s debut album ‘If You Leave’ which the band, together with an eight-piece ensemble, performed in front of an audience of sixty people in Port Meirion.

                                          4AD Session fimmakers Jane Pollard and Iain Forsyth were lucky enough to witness that mesmerising performance and both they and the band were keen to re-enact that sense of intimacy for a wider audience. “Daughter is a special band; there’s a unique chemistry and a work ethic - an effortless, instinctive talent between these three people,” say Iain and Jane. “We knew we needed to find the optimal conditions and collaborators to ensure that everything was aligned to allow the same magic to happen - the same musicians, Joe Duddell at the helm - but this time in the country’s best recording studio and recorded by the acclaimed Olga Fitzroy amidst a delicate set by art director Sal Pittman.”

                                          After further developing the arrangements for those same five songs for the session, Duddell handpicked and assembled a talented cast of young musicians to make up a 10-piece classical ensemble, all of whom are either current students or recent graduates of the Royal Northern College Of Music. Art Director Sal Pittman was also drafted in - her delicate paper birds hang serenely in the space above and around the musicians.

                                          In the acoustically and visually stunning Air Studios, Pollard and Forysth captured the trio of Elena Tonra, Igor Haefeli and Remi Aguilella plus Duddell and the RNCM ensemble performing ‘Shallows’, ‘Tomorrow’, ‘Still’, ‘Youth’ and ‘Amsterdam’.



                                          FORMAT INFORMATION

                                          12" includes MP3 Download Code.

                                          CD EP Info: Limited to 300 copies.

                                          Future Islands

                                          Seasons (Waiting On You)

                                          Baltimore post-wave trio Future Islands have announced the first single from their forthcoming album Singles, out on March 24th. Album opener ‘Seasons (Waiting On You)’ is released on February 10th.

                                          The band comprising William Cashion, Samuel T. Herring and Gerrit Welmers teamed up with long-time collaborator filmmaker Jay Buim for the music video. An intimate look at the American heartland, ‘Seasons (Waiting On You)’ was filmed in the Great Plains and documents a real life love story, charting the modern cowboy way of life, and capturing the landscapes that personify America. It follows a string of videos Buim has shot for the band (‘Tin Man’, ‘Balance’ and ‘Grease’) that convey the same sense of honesty, beauty and earnestness that are the cornerstones of Future Islands’ music.

                                          “For us, sometimes, it’s quite spellbinding how Jay can translate our sound into an image,” explains Samuel T. Herring, “’Seasons (Waiting On You’ is a song about love, letting go, learning from your mistakes and always feeling that pull – yearning for a certain love, as time goes by and seasons change. It is simply a song about the human experience.”

                                          The Breeders

                                          LSXX - Last Splash: 20th Anniversary Edition - Vinyl Box Set

                                            ‘LSXX’ is available as a deluxe seven disc vinyl box set. Many of the recordings included in the set have never been released before, or are rare / fanclub only gems.

                                            Cover and individual sleeve artwork has been created by renowned British graphic designer Vaughan Oliver, who described it as “an irreverent conceptual and visual reimagining” of his original ‘Last Splash’ artwork.

                                            The release coincides with the Breeders’ ‘LSXX World Tour’, which marks the first time Kim Deal, Kelley Deal, Josephine Wiggs and Jim Macpherson have performed together since 1994.

                                            The vinyl box set includes (the CD and vinyl formats include the same tracklisting):

                                            ‘Last Splash’ on LP.

                                            A live concert album, ‘Stockholm Syndrome’, recorded in Sweden in 1994, during the band’s last European tour - seven tracks from this recording originally appeared on a fanclub only CD, nine additional unreleased tracks from the concert are included here.

                                            An LP comprised of a BBC radio session recorded July 24 1993, and available here for the first time, and the original ‘Last Splash’ demo recordings from November 1992.

                                            Four 10” EPs - ‘Safari’, ‘Cannonball’, ‘Divine Hammer’, and ‘Head To Toe’.

                                            A 24-page booklet featuring previously unpublished photographs taken during the recording of ‘Last Splash’, personal photos taken during two years of touring, and reminiscences written by band members and others, including Kim Gordon and J Mascis.

                                            This is the sixth studio album for the Brooklyn band, and follows 2010’s High Violet, which was No 2 in our Albums of The Year, that year.

                                            In an interview with UK’s Uncut Magazine, front man Matt Berninger described the songs as more “immediate and visceral” than their previous work. Trouble Will Find Me possesses a directness, a coherency and an approachability that suggests The National are at their most confident.

                                            After a 22-month tour following the release of High Violet the band returned home. Regardless of plans to wait to record new music for another year or two, guitarist Aaron Dessner began working on sketches of new songs that the other members were too inspired by to not fully realise. Matt confesses, “For the past ten years we’d been chasing something, wanting to prove something. And this chase was about trying to disprove our own insecurities. After touring High Violet, I think we felt like we’d finally gotten there. Now we could relax—not in terms of our own expectations but we didn’t have to prove our identity any longer.” The results are simultaneously breakthrough and oddly familiar, the culmination of an artistic journey that has led The National both to a new crest and, somehow, back to their beginnings—when, says Aaron, “our ideas would immediately click with each other. It’s free-wheeling again. The songs on one level are our most complex, and on another they’re our most simple and human. It just feels like we’ve embraced the chemistry we have.” The album was recorded at Clubhouse in Rhinebeck, NY. Trouble Will Find Me was self-produced and mixed by Craig Silvey with additional mixing from Peter Katis and Marcus Paquin.

                                            STAFF COMMENTS

                                            Laura says: With every album The National have pushed on and made a more ambitious album, constantly upping the ante with bigger arrangements and a bigger sound. So how on earth were the going to follow High Violet?
                                            Well, it seems they’ve finally come to terms with who and where they are as a band and made an album that reflects that. The Dressner brothers intricate arrangements are still there, as are the distinctive scatter-shot drum patterns (described perfectly by film director DA Pennebaker as “like rain falling through the leaves of a tree”) and of course Matt Berninger’s rich baritone rolls effortlessly over it all, but “Trouble Will Find Me” is a more relaxed, streamlined collection, and this stripping back gives the songs room to breathe and emphasises just how good they are at what they do. There may be less angst here than in the past, but the romanticism and melancholy are still there and for me, once again they've come up with one of the best albums of the year.

                                            FORMAT INFORMATION

                                            2xLP Info: Double gatefold heavy vinyl with printed inner sleeve.

                                            2xLP includes MP3 Download Code.

                                            The Breeders

                                            LSXX - Last Splash: 20th Anniversary Edition

                                            ‘LSXX’ is available as a deluxe three CD package. Many of the recordings included in the set have never been released before, or are rare / fanclub only gems.

                                            Cover and individual sleeve artwork has been created by renowned British graphic designer Vaughan Oliver, who described it as “an irreverent conceptual and visual reimagining” of his original ‘Last Splash’ artwork.

                                            The release coincides with the Breeders’ ‘LSXX World Tour’, which marks the first time Kim Deal, Kelley Deal, Josephine Wiggs and Jim Macpherson have performed together since 1994.

                                            Bradford Cox's music is the stuff of an obsessive and unquiet mind. Everything about the singer's approach to music — whether he's dumping four discs' worth of home recordings onto the Internet with little fanfare or smearing fake blood onto his spindly, dress-clad body onstage — has a chaotic, haunted quality to it, even in painstakingly crafted recordings that layer his sound with atmospheric psychedelia.

                                            All of which makes Monomania a perfect title for an album by Cox's band : A single-minded obsession with music is so clearly what's kept him intact and whole throughout his adult life. But this particular collection, the sound of which he describes as "nocturnal garage," has a dirtier, wirier, looser and less fussed-over feel than he's often cultivated in recent years. Five studio albums into Deerhunter's existence, Monomania captures Cox's gift for self-laceration and unpredictability, but it moves in a less studio-bound direction, closer to the raw and unhinged spirit of his live shows.

                                            Monomania's gnarly dissonance leaves a bit less room than usual for glimmers of beauty — though they shine through in a few haunting tracks like "The Missing" — as Deerhunter opts more often for the raw, noisy, slurred and basement-friendly feel of "Pensacola." Elsewhere, "Blue Agent" meets somewhere on Deerhunter's continuum between sideways prettiness and the sort of thorniness that ensures arm's-length distance. Even as its sound continues to shift unpredictably, Deerhunter has maintained that balance throughout its fruitful run — no small task, coming from a man whose entire artistic persona is rooted in an understanding that balance doesn't come easy, even on the best days.

                                            STAFF COMMENTS

                                            Andy says: Less Shoegaze, more Velvets. Always good songs!

                                            FORMAT INFORMATION

                                            Vinyl comes with CD version of the album enclosed.

                                            Daughter are a London-based trio consisting of Elena Tonra (vocals, guitar), Igor Haefeli (guitar) and Remi Aguilella (percussion).

                                            Daughter started life in 2010 as an outlet for Elena’s musings. After recording a ‘Demos’ EP, Elena joined forces with Igor, then fellow classmates studying music at college. A four-track EP, ‘His Young Heart’, was self released in April 2011, and with Remi completing the line up soon after, The ‘Wild Youth’ EP was released in late 2011. On the strength of these releases alone they have gained a loyal fanbase which continues to grow as public and media alike discover their charms.

                                            ‘If You Leave’ is Daughter’s debut album. Recorded over a period of months at home and in various spaces around London, it was produced by Igor with additional production from Rodhaidh McDonald (The xx, Adele) and Jolyon Vaughan Thomas, and mixed by Ken Thomas (Sigur Ros, M83) at High Bank Studios.

                                            Less of a statement of intent, these songs are more a snapshot of a year in Daughter’s short life. Lyrically, Elena plumbs the depths of her psyche to reveal her innermost thoughts, finding catharsis in expounding those internal demons. There may be little light relief here, but the personal themes have universal appeal; tales of doubt, insecurity, fear, anger and loneliness all take centre stage.

                                            Musically, Daughter balance an intricate interplay between vocal, guitar and rhythm section. Elena’s vocals are fractured, often delivering savage words with a smoke-tinged whisper. Igor wrestles his guitar to build up a stark and brutal landscape, colliding with Elena’s more structured rhythm guitar. All are punctuated by the jolts of Remi’s minimalist drums.

                                            ‘If You Leave’ is a bold first move for an act still in its infancy, and yet the songwriting displays a maturity that belies their youth. Darkness may prevail on ‘If You Leave’, but the future looks extremely bright for Elena, Igor and Remi.

                                            FORMAT INFORMATION

                                            Vinyl comes with CD version of the album enclosed.

                                            TV On The Radio

                                            Desperate Youth, Blood Thirsty Babes - 180g Coloured Vinyl

                                              Yellow 180g vinyl deluxe repress of TV On The Radio’s debut album.

                                              What we originally said in 2004: Founding member David Sitek produced albums for Liars and Yeah Yeah Yeahs, but he’d be the first to say that TV On The Radio are something else altogether. He met singer and lyricist Tunde Adebimpe back in 2000 when the two became neighbours in a Brooklyn apartment building. The two began exchanging their stockpiles of homemade four track recordings, and shortly afterwards they ventured onto local stages as a completely improvisational two-piece.

                                              Gradually, songs emerged from these explorations, and the live side of things was bolstered by the arrival of guitarist Kyp Malone (who also supplies sweet falsetto harmony vocals), bassist Gerard Smith, and drummer Jaleel Bunton, Brooklyn residents all. People started really taking the band seriously when their debut EP, ‘Young Liars’ (Touch & Go), appeared in the late summer of 2003 - the heady blend of bedroom electronics, warm distortion and killer soul vocals sounded, and still sounds, like nothing else around.

                                              A tour with label mates Coco Rosie kept things building - the live shows started to get real busy and, before the year was out, these ripples of intrigue had grown into a tidal wave of excitement. Come SxSW, TV On The Radio were the hottest ticket in town.

                                              TV On The Radio’s debut album contains nine tracks that pull the listener in and gather in intensity and invention as the record goes on. Endlessly appealing vocals weave their way through music that somehow combines cosmic jazz (sax and flute), amped-up electronica, twitchy, danceable beats and swathes of treated guitar into rich and endlessly surprising folds of sound.

                                              Indians

                                              Somewhere Else - Bonus Disc Edition

                                              INITIAL COPIES OF BOTH THE CD AND VINYL COME WITH AN EXCLUSIVE '4AD SESSIONS' CD BONUS DISC.

                                              “Imagine taking the log cabin narrative of (Bon Iver’s) ‘For Emma, Forever Ago’ but transplanting it from rural Wisconsin to a lonely lunar space station” - Under The Radar

                                              Coming to the attention of 4AD after a clutch of demo tracks went online early in 2012, Indians emerged in a fittingly understated manner and with ‘Somewhere Else’ have made both an assured and majestic debut album.

                                              From Copenhagen, Indians is all the work of one man, Søren Løkke Juul, who brought his band in to being when he felt the need to challenge himself and do something different. Not aiming for anything other than satisfying a creative urge, things have snowballed quickly for him ever since.

                                              Performing his first show as Indians in February 2012, he self-released his debut single on 7” a few months later and has since extensively toured both Europe and North America, playing shows with the likes of Beirut, Bear In Heaven, Dan Deacon, Lower Dens, Other Lives, Perfume Genius, Retribution Gospel Choir, Savages and Weird Dreams. To cap it off, he’s joined fellow countrymen Efterklang in signing to 4AD, doubling the number of Scandinavian acts on their roster.

                                              Over the summer months, Søren retreated to a studio in the Danish countryside to finish his early demos and write new material to make ‘Somewhere Else’, a personal document that’s equal parts melancholic lament and hopeful stargazing, the title itself an indication of the sense of otherness that runs throughout. Evocative of the natural world, its cavernous tones and Autumnal warmth reflect the vastness of the landscape that formed the backdrop of its conception

                                              Indians celebrated their signing with the airing of a 4AD Session, joining the ranks of Bon Iver, St. Vincent, Tune-Yards and Mark Lanegan before them. Like all 4AD Sessions, it was filmed in a day and in the way that the band wanted it. Directed by Iain & Jane, they went to Osea Island, a little-known, privately owned island in the estuary of the Blackwater in Essex, UK where Søren was flanked by two additional band members (his live band floats between solo performances and a three-piece band). Facing up to the challenge of performing in a vast open space, under sky and near water, they triumphed in making quite a first impression.

                                              Ariel Pink's Haunted Graffiti With Dam-Funk

                                              Baby

                                              You've probably seen Ariel Pink's quote on the Donnie & Joe Emerson 'Dreamin' Wild' Light In The Attic LP reissue, so it doesn't come as much of a surprise that he's done his own cover version of the album's standout track 'Baby'. It's a haunting, smokey version that's pretty faithful to the original. For added west coastness, Mr Pink and pals wheel in fellow Los Angeles man Dam-Funk to help out with the vocals.





                                              STAFF COMMENTS

                                              Philippa says: Ariel Pink's Haunted Graffiti cover the standout track from Donnie & Joe Emerson 'Dreamin' Wild' LP, with the help of boogie-soul man Dam-Funk on vox.

                                              FORMAT INFORMATION

                                              Ltd 12" Info: Mega limited one-sided 12" in embossed sleeve. 1 copy found! Still sealed!

                                              Twin Shadow, the creative moniker of George Lewis Jr., will release second album ‘Confess’ on 4AD. Self-produced and with mixing duties handled by Michael H. Brauer (Bob Dylan, Paul McCartney), the follow-up to 2010’s ‘Forget’ (“Impressive” - The Sunday Times ****) finds Lewis Jr. doing what he does best; remembering and reinventing, and fashioning a soundtrack which sounds refreshingly and distinctly modern.

                                              Talking about his inspiration behind ‘Confess’, New York-based George Lewis Jr. writes: “One winter I crashed my motorcycle, with a friend on the back. I shouldn’t have been riding that day, but I was young and fearless of the black roads, fast and easy in my ways. As the bike slipped from under us my head filled with words. The slow motion moments of calm just after surprise and just before regret are bliss. I remember in that moment I wanted to say everything to him. How could I say everything in a split second? How could I bury my words in his heart?”

                                              “I got a new bike and went to LA to record what is now called ‘Confess’. I took the bike out at 6am one morning after not having done much riding in the couple years between ‘Forget’ and ‘Confess’. I noticed my head clearing as I came slowly down a hill where the road around a reservoir began. I pulled back slowly on the throttle with my right hand, and felt the bike start to come to life. My head was still crystal clear… nothing. As I kicked the bike into third, I pulled almost all the way back and jumped forward leaning in towards the gas tank, fighting the wind. I got up to 75 and saw that no one was out but the runners and their four legged friends, the sidewalks became a blur of barking dogs and heads all turning. My mind was empty. I put the bike in fourth and hit 90. The engine jackhammered under my legs. My mind was clear. I inched toward 100 on the speedometer and punch the last five. TON UP! My mind is filled with words. My heart is full of love. This is where I want to be. I want to stay here, and I want to tell you everything.”

                                              STAFF COMMENTS

                                              Andy says: This is like Part Two of his amazing debut, but he's made it out of the bedroom and into a proper studio. The result is a punchier take on his unique vision. Retro yet defiantly unique.

                                              4AD release ‘Visions’, the defining new album from Grimes.

                                              For those unaware, Grimes is the inventive work of Claire Boucher, a project that has gained notoriety since its inception back in early 2010. Moving to Montreal from Vancouver in 2006, she developed Grimes among the city’s burgeoning DIY scene; a scene where both punk ethos and pop music collide, resulting in a distinct sense of community, religiosity and psychedelic revelry.

                                              ‘Visions’ will be her fourth release in less than two years. With her creative bent being both musical and visual, her second self embodies the arts of 2D, performance, dance, video and sound, weaving them all together to strong rhythmic effect. Subsequent records have sharpened her production skills and each one has tackled different influences and styles. This new set incorporates influences as wide as Enya, TLC and Aphex Twin, whilst drawing from genres like new jack swing, IDM, new age, K-pop, industrial and glitch, resulting in a record that is both otherworldly and futuristic.

                                              Claire describes her work as “the only means through which I can be fully expressive. It is both an ethereal escape from, and a violent embrace of, my experience. The creative process is a quest for the ultimate sensual, mystical and cathartic experience and the vehicle for my psychic purging. ‘Visions’ was conceived in a period of self-imposed cloistering during which time I did not see daylight.”

                                              STAFF COMMENTS

                                              Philippa says: Montreal-based singer, songwriter, producer Claire Boucher, aka Grimes is a music maker of the Internet age. The overwhelming availability of differing musical styles on the Web often makes for a kids-in-a-sweet-shop, suck it and see style of music creation for younger producers, and previous Grimes albums have perhaps lacked focus, while at the same time giving us tantalising hints of her song writing talent. “Visions”, however, is the great leap forward we’ve been hoping for. On this long player for 4AD, Boucher references influences as wide ranging as Enya, Prince, Cocteau Twins, TLC and Aphex Twin, but creates her own distinctive sound. Whereas on "Halfaxa" and "Geidi Primes" Grimes’ pop impulses were buried deep in gloomy synthwave soundscapes and IDM glitches, now they rise to the top. Seductive, infectious and unexpectedly brilliant, "Visions", has turned out to be one of the best electronic pop albums of 2012.

                                              FORMAT INFORMATION

                                              LP Info: Limited edition - 1000 copies only.

                                              LP includes MP3 Download Code.

                                              ‘Blues Funeral’ is the new Mark Lanegan Band record, the first since 2004’s ‘Bubblegum’, recorded in Hollywood, California by Alain Johannes at his 11ad studio. In the mean time, he’s been busy working with the likes of Isobel Campbell, Twilight Singers, Gutter Twins and Soulsavers. Here, the music was played by Johannes and Jack Irons with appearances from Greg Dulli, Josh Homme et al.

                                              The awesome ‘Gravedigger’s Song’ kicks things off, with it’s pounding, claustrophobic beats. The tempo slows for the next track ‘Bleeding Muddy Water’, with it’s soulful, pulsing groove. In fact, the whole album ‘grooves’ to varying degrees, from slow and soulful, to Kraut-ish metronomy, to almost funky – yes really! There’s a lot going on here, and it’s taken me a good few listens to get to grips with it, but as ever, Mark’s dark tales, delivered in his distinctive gravelly tones have won me over.

                                              With such a wealth of releases behind him, it’s hardly surprising that Joker’s music escapes easy characterisation. Keen to avoid generic formalism, he has even publically distanced himself from being labelled  as just dubstep. It’s understandable, since his music runs deep with R&B, funk and soul influences combining with his trademark pounding bass wobbles and ascending crystalline synths. Also apparent is an affection for computer games; no more evident than on the Sega throwdown album track ‘Level 6 (Interlude)’.

                                              Old fans will be pleased to know that trademark instrumentals are there in abundance, from the Vangelis inspired album opener (‘Intro’) to established classics ‘Tron’ and ‘My Trance Girl’, which showcase the muscular synths and sharp drum snaps for which he has become renowned to the warmth of the heady height of summer album closer, ‘The Magic Causeway’, performed with Ginz. These are complimented by a number of startling vocal collaborations that also show just how far his sound has come; with inspired contributions from fellow rising stars like Jessie Ware on the Radio 1 playlisted ‘The Vision (Let Me Breathe)’, Jay Wilcox on ‘Electric Sea’ and Silas from Turboweekend and William Cartwright on forthcoming singles, ‘Here Come The Lights’ and ‘On My Mind’. He also found the time to round up Buggsy, Shadz, Scarz and Double (KHK-SP) to record ‘Back In The Days’, the definitive Bristol track he’s been promising to make.


                                              When Justin Vernon emerged from the wilds of Wisconsin in 2008 with his Bon Iver project, and the startling debut album 'For Emma, Forever Ago', perhaps none of us quite realised the magnitude of this unique talent. Not only did he capture hearts across the globe, but 'For Emma' also attained beyond gold sales in the UK, and the follow up EP ‘Blood Bank’ debuted at #14 on the Billboard Top 200 and the Top 40 UK in 2009. In the intervening months and years, Vernon has collaborated non-stop on entirely new projects in varying genres with Gayngs’ sassy innovation on the Relayted album, and Volcano Choir, a freeform adventure with fellow Wisconsin musicians Collections of Colonies of Bees on the album Unmap. He also duetted with St Vincent, appearing on the Twilight: New Moon soundtrack, while Peter Gabriel recorded a cover of Bon Iver’s ‘Flume’ and Bon Iver reciprocated with ‘Come Talk To Me’ for a Record Store Day limited edition 7” release.

                                              And then there was the time when Kanye West called up and invited Vernon to pop down to his studio in Hawaii to collaborate on the hip hop auteur’s astoundingly bold opus, 'My Beautiful Dark Twisted Fantasy'. West sampled ‘Woods’ (taken from ‘Blood Bank’) on the track ‘Lost in the World’. Vernon also appeared – alongside Jay-Z, Rick Ross and Nicki Minaj – on ‘Monster’, which proved to be one of the tracks of last year. He also appeared on four other tracks and has since performed live with Kanye on numerous occasions, including the 2011 Coachella Festival.

                                              When it came to recording the follow up to 'For Emma', Justin Vernon headed to his hometown of Eau Claire. Bon Iver was recorded and mixed at April Base Studios, a remodeled veterinarian’s clinic located in rural Fall Creek, Wisconsin. The main recording space is constructed over a defunct indoor pool attached to the clinic.

                                              “It’s an unique space and destination; it’s our home out here,” says Vernon, who purchased the structure with his brother in late 2008 with the sole intention of converting it into his ideal recording studio. “It’s been a wonderful freedom, working in a place we built. It’s also three miles from the house I grew up in, and just ten minutes from the bar where my parents met.”

                                              The creation of 'Bon Iver, Bon Iver' was not solely down to Vernon. On the track ‘Beth/Rest’ and throughout the album, we hear the pedal steel of Greg Leisz (Lucinda Williams, Bill Frisell), the uniquely layered low end of Colin Stetson's (Tom Waits, Arcade Fire) saxophones, the riffing of Mike Lewis' (Happy Apple, Andrew Bird) altos and tenors, and the lush horns of C.J. Camerieri (Rufus Wainwright, Sufjan Stevens). Bon Iver regulars Sean Carey, Mike Noyce and Matt McCaughan contributed vocals, drums and production, Rob Moose (Antony and the Johnsons, The National) helped with arranging and added strings, and fellow members of Volcano Choir, Jim Schoenecker and Tom Wincek provided processing.

                                              It’s all there right away, in the thicker-stringed guitar and military snare of ‘Perth’, and ‘Minnesota, WI.’ Anyone who had a single listen to 'For Emma' will peg Justin Vernon’s vocals immediately, but there is a sturdiness – an insistence – to Bon Iver that allows him to escape the cabin in the woods without burning it to the ground. ‘Holocene’ opens with simple finger-picking. The vocal is regret spun hollow and strung on a wire. Then the snare-beat breaks and drives us forward and up and up….The magical poise and restraint of ‘Michicant’. The vocals in ‘Hinnom, TX’ ease to the muffled depths, while the instrumentation remains sparse and cosmic.

                                              From the tenderised piano and sprouting strings of arguable album highlight ‘Wash’, we arrive at future single ‘Calgary’ – a worship song to everything 'For Emma' mourned. At the point in the final track ‘Beth/Rest’ when Vernon sings, “I ain’t livin’ in the dark no more” it is clear he isn’t dancing in the sunshine, but rather shading toward a new light. It also provides the most ‘Woods’-like moment on the album in terms of singular voice and production.

                                              'Bon Iver, Bon Iver' is Justin Vernon returning to former haunts with a new spirit. The reprises are there – solitude, quietude and hope – but always a rhythm arises, a pulse vivified by gratitude and grace notes, some as bright as a bicycle bell. The winter, the myth, has faded to just that, and this is the new momentary present. From ‘Perth’ to ‘Beth’ we go full circle and reach the summation to a remarkable second album.


                                              STAFF COMMENTS

                                              Andy says: Out of the log cabin and into the world! A lush, deeply layered masterpiece, with the same essence as his stark debut - mega, transcendent songwriting - but now with much greater scope.

                                              FORMAT INFORMATION

                                              LP includes MP3 Download Code.

                                              Pixies

                                              Wave Of Mutilation: Best Of The Pixies - Deluxe Vinyl

                                              The ultimate Pixies compilation, ‘Wave Of Mutilation’ has sold over half a million copies since its release in 2004 and remains a consistent seller with the band regularly touring, headlining festivals and crossing over to new audiences. However, it has taken six years and the re-issue of the regular albums to finally release the ‘Best Of Pixies’ on vinyl.

                                              Following the original CD sequencing, the double vinyl set (each side is under 20 minutes long for the best quality cut) is packaged in a gatefold sleeve.

                                              “This compilation's track listing is in more or less chronological order… which helps the flow of the collection; since each of the Pixies’ albums had its own distinctive feel, the cut'n'paste approach of the previous best of didn't always serve the songs it collected. The collection does a good job of compiling the band's singles, two excellent B-sides (‘Into The White’ and ‘Winterlong’), and many of their key album tracks. Even though the best way to experience the band is still devouring each of their albums, ‘Wave Of Mutilation: Best Of Pixies’ is intended as a primer to their work, and - fannish nitpicking aside - it's a far better overview than what was available before” - Heather Phares (All Music).

                                              STAFF COMMENTS

                                              Andy says: The best of one of the greatest bands ever, now on lush double vinyl. RESULT.

                                              FORMAT INFORMATION

                                              2xLtd LP Info: 2 x 180g vinyl pressing in gatefold sleeve and outer PVC.

                                              "Halcyon Digest" is the fourth studio album from Atlanta’s Deerhunter, released by 4AD.

                                              The quartet of Bradford Cox, Lockett Pundt, Joshua Fauver and Moses Archuleta have established themselves as one of the most innovative and important bands to emerge from the US in recent years and "Halcyon Digest" is sure to bolster this newfound status of theirs.

                                              Deerhunter are renowned for their prolificacy; in the two years since signing to 4AD, the group has released a double album ("Microcastle" and "Weird Era Cont.") and a five-track EP ("Rainwater Cassette Exchange") as well as numerous unofficial tracks that appear on a regular basis – albeit only for a short duration – on the band’s blog. Furthermore, the band’s own solo projects (Bradford’s Atlas Sound moniker and Lockett’s Lotus Plaza) have released albums at a similar rate.

                                              With every release, Deerhunter widen their sphere of influence and critically they continue to impress.

                                              STAFF COMMENTS

                                              Darryl says: Another effortlessly brilliant album from Deerhunter, currently America's greatest exponents of indie art-rock.

                                              A collection of songs their debut album "Beachcomber’s Windowsill" may be, but together these melodies and lyrics form a beguiling whole. The Oxford quartet have used a kind of alchemy to combine startling harmonies - at times reminiscent of barber shop quartets, at others far more choral, pure with perfect pop refrains all rooted in very traditional, British grassroots songsmithery.

                                              Tapping into a subject matter as diverse as New Zealand adrenaline sports, natural history and car journeys, Stornoway distil very personal subject matter and experiences into crystalline classics and crucially love songs that revive the most jaded of hearts.


                                              FORMAT INFORMATION

                                              CD Info: Digi-pack CD.

                                              The album opens with the slow drums and mournful vocals of “Terrible Love” but from the start there’s a simmering intensity that builds and eventually explodes into crashing cymbals, pummelling drums, distorted guitars and layered vocals.
                                              A dramatic entrance to The National’s fifth album. But it’s not all this heavy, as with their previous releases it’s an album of mood swings. Where “Terrible Love” was explosive, second track “Sorrow” is mournful and melodic.
                                              And while the album changes mood and tempo, at times warm and intimate at others dramatic, propelled by off beat drum rhythms, there’s always a palpable intensity. I read recently that they find it hard to finish songs, with one or other band member frequently rejecting material. Whether the atmosphere created here is the cause or result of this I don’t know, but either way it works perfectly. Despite Matt’s melancholy, there’s something really uplifting about this collection of beautifully crafted mini epics.


                                              STAFF COMMENTS

                                              Martin says: A bona fide classic, and possibly the summit of The National's already majestic canon. Moody, introspective and deeply involving, "High Violet" manages to be both clever and inventive and at the same time focused in it's somewhat bleak expression. A work of troubled genius whose (very) high points, "Afraid of Everyone", "Bloodbuzz Ohio" and the sublime "Conversation 16" would grace pretty much any album, ever. It is really that good.

                                              Serena-Maneesh

                                              S-M 2: Abyss In B Minor

                                              Sereena-Maneesh’s eponymously titled debut album established the Norwegian band as an act that could merge the lilting, ethereal melodies with crushingly loud, shimmering distortion. "S-M 2: Abyss In B Minor" is their first release for 4AD, who they recently signed to.

                                              The band started recording for the album in 2008 when they went back underground to record in a cave on the outskirts of Oslo. Once recorded, they then worked on the album further with Nick Terry (who has worked with Klaxons and Primal Scream), and Can associate René Tinner, who set about mixing the results, spending an incredible eight days on each song. It was even mastered at Air Studios by Ray Staff, who did the same for, among many others, Led Zeppelin’s "Physical Graffiti", but this is no distended double album, the end result is a concise eight tracks spread over just 38 minutes and 45 seconds.


                                              The Big Pink

                                              Stop The World

                                              "Stop The World" begins with that The Big Pink crackle, that calm before the storm introduction. Then the avalanche begins and you're swept up into some musical nirvana, an all-encompassing sound that takes the listener into Robbie Furze and Milo Cordell's soul and feedback-drenched world via 80s Liverpool and shoe-gaze with plenty of MBV sonics and Mary Chain fuzz. Over on the flip "Crushed Water" is a gorgeous, atmospheric slow burner. As you've probably noticed, we're big fans here at Piccadilly and can't wait for the album!

                                              From Minnesota via Los Angeles and now based in Chicago, twenty-three year old Anni Rossi is an exciting prospect. Having been classically trained since aged three, Anni is an accomplished multi-instrumentalist and has been performing as a solo artist for the past few years. Fresh from signing to 4AD, Anni headed straight to Electrical Audio in Illinois to record "Rockwell" with Steve Albini and the results show it to have been a wise move. Mostly using tracks from her existing live set, the energy, depth and eccentricities of her live show have all been successfully translated onto record, making the document she set out to make – something she feels she has never achieved previously. Until now, the viola has formed the centrepiece to her music, often finding itself to be the only instrument used, but more come to the fore here. In particular, drums and cello slightly elevate her sound, appearing occasionally to fill in corners. The fact it was all recorded in one day will surprise most but so will the unlikely cover version of Ace Of Base's "Living In Danger", a version so sublime you wouldn't know what it was unless told.

                                              "Microcastle" is the follow-up to 2006's critically lauded "Cryptograms" and was recorded over the course of a week at the Rare Book Studios in Brooklyn, NY with studio proprietor Nicolas Verhes (Les Savy Fav, Silver Jews). All tracks on the record feature Bradford on lead vocals except "Agoraphobia" and "Neither Of Us, Uncertainly", which are fronted by guitarist Lockett Pundt, while "Saved By Old Times" also features a vocal collage by Cole Alexander of The Black Lips. It's a more immediate album than it's predecessor, and although not exactly what you'd call a 'pop' album it's much more accessible. In fact, it kind of falls somewhere between "Cryptograms" and Bradford Cox's solo project Atlas Sound. The songs range from shimmering slow fuzz, at times bringing to mind 80s 4AD acts like Ultra Vivid Scene, to more upbeat, psyche-pop experiments. The mood and tempo change constantly, but that's not to say it's disjointed, it all flows beautifully, all the while pulling influences from all over the place; 60s doo-whop to Kraut to garage punk, all filtered through a shoegaze-fuzz. A wonderfully uplifting, off-kilter pop album. Set to be a Piccadilly Records favourite!

                                              Dead Can Dance

                                              Super Audio CD Reissues



                                                FORMAT INFORMATION

                                                Box set Info: For overseas customers postage will be about the same as posting 8 CDs! UK customers can take advantage of our free postage for orders over £50.

                                                Originally released in 1984.

                                                FORMAT INFORMATION

                                                CD Info: Super Audio CD remastered by MFSL. Beautifully packaged in Japanese paper sleeves which replicate the original UK vinyl releases, including replica inner sleeves, obi strip and new additional booklets with lyrics, album labels and other images.

                                                Originally released in 1990.

                                                FORMAT INFORMATION

                                                CD Info: Super Audio CD remastered by MFSL. Beautifully packaged in Japanese paper sleeves which replicate the original UK vinyl releases, including replica inner sleeves, obi strip and new additional booklets with lyrics, album labels and other images.

                                                Following 2006's astonishing debut "Gulag Orkestar", Zach Condon AKA Beirut returns with "Flying Club Cup". In between the two albums, he has been living in Paris immersing himself in France's culture, fashion, history and music, in much the same way as he absorbed Balkan culture for his debut album. Condon's musical gaze has now looked to the likes of Jacques Brel and Francois Hardy for inspiration, and "Flying Club Cup" is another sweeping and triumphant European folk album that combines these new ideas with elements of his previous work too. Where as "Gulag Orkestar" was mainly a solo effort, for this album Condon has acted as a band leader putting together a core group of eight musicians and together they've managed to recreate his cultural borderless vision with this expansive and enthralling album.

                                                Zach Condon his new touring/recording band AKA Beirut return with a three track 7" only single to accompany their European tour. "Elephant Gun" (taken from the "Lon Gisland" EP) is a wondrous Balkan infused track that builds from a simple mandolin strum to a funeral procession-esqe waltz before being topped off with the most glorious trumpet sound know to man! On the flip we have new track "Transatlantique" and a live coupling of a Jacques Brel cover and another track from "Lon Gisland" in the form of "Le Moribond / My Family's Role in the Revolution". All in all it's glorious and essential stuff!

                                                FORMAT INFORMATION

                                                Ltd 7" Info: Ultra limited. PLEASE NOTE: These are the last copies we can get but they all have a slight rip in either the top or bottom of the sleeve, so if you're fussy about that sort of thing you're better not buying it!

                                                Orchestrated folk-pop for fans of Sufjan Stevens, Calexico, Arcade Fire, the Magnetic Fields, Klezmer, Neutral Milk Hotel, and the Boban Markovic Orchestra. There are no guitars on this album; instead, horns, violins, cellos, ukeleles, mandolins, glockenspiel, drums, tambourines, congas, organs, pianos, clarinets and accordions all build and break around Zach Condon's deep voiced crooner vocals, swaying to the Eastern European beats like a drunken 12 piece carnival band. Guests include Jeremy Barnes (Neutral Milk Hotel) and Heather Trost (A Hawk And A Hacksaw). "Gulag Orkestar" is a glorious sweep of music, striking in its emotional content and stunning in its scope.

                                                STAFF COMMENTS

                                                Darryl says: Zach Condon's epic debut album, sounding like the best drunken Eastern European party ever. Perfect for swaying along to after one too many Summer ales!!!

                                                FORMAT INFORMATION

                                                2xCD Info: UK version on 4AD now with a bonus disc, "The Lon Gisland" EP.

                                                Pixies

                                                Surfer Rosa - Vinyl Edition

                                                The Steve Albini produced "Surfer Rosa" was the first full length release from The Pixies. Abrasive, clever, and totally unique, it defined their sound and became one of the most influential albums of the 80s.

                                                FORMAT INFORMATION

                                                LP Info: These limited edition vinyl are mastered from original tapes, the sleeves have been printed from original films and the albums pressed on 180g vinyl. Limited to 1500 copies world wide.

                                                Rachel Goswell

                                                Waves Are Universal

                                                Long awaited solo album from Rachel Goswell (of Slowdive and Mojave 3 fame). Recorded with co-writer Joe Light and producer David Naughton, "Waves Are Universal" is quite a radical departure for Rachel. The track "Plucked" best hints as to what is to follow - an album that has been recorded organically (so to speak), largely without the aid of electronic effects, allowing her to be heard away from the familiar delay and reverb of most her previous outings. What remains on record is pure atmosphere, which is unsurprising given David's recording technique. On some tracks, Rachel's vocals were played back in Chislehurst Caves and re-recorded to create a natural echo ("Warm Summer Sun", "Gather Me Up" and "Hope"). In addition to this, both real-life sounds caught by an ambient microphone ("No Substitute") and field recordings made during a holiday in Thailand ("Shoulder The Blame" and "Plucked") find their way on to add extra warmth and depth. "Waves Are Universal" is proof that Rachel is a real talent.

                                                Cocteau Twins

                                                Heaven Or Las Vegas

                                                Originally out in 1990, "Heaven Or Las Vegas" was the Cocteau Twins' last LP for 4AD, and the pinnacle of their releases to date. Everything you love about the trio's music is present here: phased, shimmering guitar soundscapes, subtle synth washes and textures, and of course Liz Fraser's swooping, soaring vocal. If you had to pick only one Cocteau Twins LP to own, then this has to be it!

                                                FORMAT INFORMATION

                                                CD Info: Reissue, remastered by Robin Guthrie.

                                                Dead Can Dance

                                                Toward The Within

                                                ‘Toward The Within’ was recorded in one take in November 1993 in the Mayfair Theatre in Santa Monica, California, and was released by 4AD as an album and a video (VHS and Laserdisc) a year later. It was the last major event to take place in the Mayfair Theatre before it was severely damaged in an earthquake in January 1994 and had to be closed indefinitely

                                                The video was filmed by producer Mark Magison, known for his work on 1992’s ‘Baraka’, and contains interviews with Lisa Gerrard and Brendan Perry, as well a music video for ‘Yulunga (Spirit Dance)’, composed of clips from the film ‘Baraka’.

                                                In addition to the original content, this DVD release contains a few extras: Discography, music videos for ‘Frontier’, ‘The Protagonist’, and ‘The Carnival Is Over’, as well as a chapter from ‘Baraka’ entitled ‘Calcutta Foragers / Homeless’, which is set to Dead Can Dance’s ‘The Host Of Seraphim’.

                                                NTSC DVD compatible in the UK.

                                                Cocteau Twins

                                                Head Over Heels

                                                Creating one of the most distinctive sounds in 80s music, The Cocteau Twins were one of the 4AD label's greatest bands. In Elizabeth Fraser, the band had an utterly unique performer who eschewed conventional lyrics for the sound and textures that were layered onto Robin Guthrie's banks of distorted guitars, tape loops and echo.

                                                Losing original member Heggie might at first have seemed a troubling blow, but in fact it allowed the duo of Fraser and Guthrie to transcend the darkened one-note gloom of "Garlands" with "Head Over Heels". The album introduces a variety of different shadings and approaches to the incipient Cocteaus' sound, pointing the band towards the exultant, elegant beauty of later releases. Opening number "When Mama Was Moth" demonstrates the new musical range nicely; Fraser's singing is much more upfront, while Guthrie creates a bewitching mix of dark guitar notes and sparkling keyboard tones, with percussion echoing in the background. Other songs, like the sax-accompanied "Five Ten Fiftyfold" and "The Tinderbox (Of a Heart)" reflect the more elaborate musical melancholy of the group, while still other cuts are downright sprightly. "Multifoiled" in particular is a charm, a jazzily-arranged number that lets Fraser do a bit of scatting, while "In the Gold Dust Rush" mixes acoustic guitar drama into Fraser's swooping singing. Perhaps the two strongest numbers of all are "Sugar Hiccup," mixing the mock choir effect the band would use elsewhere with both a lovely guitar line and singing; and "Musette and Drums," a massive, powerful collision of Guthrie's guitar at its loudest and most powerful and Fraser's singing at its most intense.

                                                Now remastered from the original tapes by Robin Guthrie.

                                                Cocteau Twins

                                                Treasure

                                                "Treasure" is arguably the Cocteau Twins finest album, bassist Simon Raymonde joined the band in 1983 and after a couple of brilliant EPs came "Treasure". Opening with "Ivo", one of their best album openers featuring a brilliant Robin Guthrie guitar solo and followed by one of my all time favourite Cocteau Twins tracks in "Lorelei" the pace never slackens, the quality of the songs never lets up right to the last note on the albums climax "Donimo" which ultimatly explodes into a heavenly choral wall of sound.

                                                Cocteau Twins

                                                Victorialand

                                                "Victorialand" is an altogether more relaxed affair than some of their early work as the Cocteau Twins reverted to a duo of Fraser and Guthrie in Simon Raymonde's absence. Without Raymonde's hectic bass the rhythms are subtler as layered guitar lines and lush soundscapes fill the air. Over all Liz Fraser's wonderfully fine voice weaves in and out. A few saxophone textures, a little tabla and the effect is complete. Highlights include the albums majestic opener "Lazy Calm", the multi textured "Fluffy Tufts", and the haunting and darker closing number "The Thinner The Air".

                                                Cocteau Twins

                                                Garlands

                                                Formed by guitarist Robin Guthrie and bassist Will Heggie in Stonehaven in 1979 and with the addition of Guthrie's then girlfriend Elizabeth Fraser as vocalist, the Cocteau Twins signed to 4AD in 1982 releasing their debut "Garlands" later that year. Anchored by a Roland 808 drum machine and Heggie's swooping bass lines, guitarist Guthrie created an atmospheric sound providing a perfect platform for Fraser's remarkable vocals.

                                                Easily the darkest and most straightforwardly post-punk album Cocteau Twins ever recorded, "Garlands" has a spare, desolate, insistently minor-key sound that owes a clear debt to Joy Division; however, what keeps the proceedings from sounding derivative are Robin Guthrie's spiraling guitar textures (far more primal than on future albums) and Elizabeth Fraser's vocals, which somehow manage to evoke beauty and dread simultaneously. While the album suffers a bit from the use of a drum machine and several songs that are overly repetitious (something rarely found on their later albums), "Garlands" manages to create a sound that, while not indicative of where Cocteau Twins were heading next, still played an important role in defining the 4AD sound of the early 80s.

                                                Now remastered by Guthrie with new artwork.

                                                Pixies

                                                Bossa Nova

                                                  Originally released in 1990, "Bossanova" was seen as something of a let-down initially, (it was always going to be tough following such a huge album as "Doolittle") but Frank Black has since said it's his favourite. There are rockers here but it's on the mellower moments that they really excel.

                                                  Pixies

                                                  Surfer Rosa & Come On Pilgrim

                                                    If you don't already own this CD - why on earth not??? "Come On Pilgrim" was their first mini album, released in 1987, it was followed by the Steve Albini produced "Surfer Rosa". Abrasive, clever, and totally unique, it defined their sound and became one of the most influential albums of the 80s. With the tracks from both albums now available on one CD, you'd be a fool not to buy it!

                                                    Sybarite

                                                    Scene Of The Crime

                                                    New EP from Brooklyn based multi-instrumentalist Xian Hawkins (AKA Sybarite). Gentle, melodic electronic tracks, with vocals from Jennifer Charles of Elysian Fields.

                                                    FORMAT INFORMATION

                                                    CDS Info: The CD single includes "The Fourth Way" and "International Date Line".

                                                    His Name Is Alive

                                                    Last Night

                                                    "Last Night" shares enough stylistic links with the previous His Name Is Alive album "Someday My Blues Will Cover The Earth" to hook those who loved that album. But the sparse, minimal songs of that album now have more beat, more direction. There's a distinct nu-jazz groove to some of the tracks and the soulful / downbeat vocals of Lovetta Pippen really moves things on especially on the cover versions of Jimi Hendrix's "Storm" and the Equals old song "Teardrops". This is timeless stuff with a great blues-jazz tinge.

                                                    Tanya Donelly

                                                    Beautysleep

                                                    Tanya Donelly returns with her new album "Beautysleep", featuring 11 brand new Donelly penned songs, and is the long awaited follow-up to Tanya's 1997 solo debut "Lovesongs For Underdogs". The album boasts an impressive cast of guest musicians including Tanya's longtime friend and collaborator David Narcizo (ex-Throwing Muses, Lakuna), Bill Janovitz (Buffalo Tom), Dean Fisher (Juliana Hatfield 3), Rich Gilbert (Frank Black and The Catholics), and the late Mark Sandman (Morphine).

                                                    Dead Can Dance

                                                    1981-1998

                                                    Evolving from Gothic beginnings into an altogether more fascinating blend of ethnic rhythms, Bulgarian style vocals and period instruments, Dead Can Dance became something unique and involving. The purity of Lisa Gerrard's voice and the compositional skills of Brendan Perry resulted in some hauntingly beautiful tracks that are totally unique and which unfolded more each time you listened to them. This limited edition box set compiles 47 tracks of rarities, radio sessions and classic tracks on it's 3CDs and includes a DVD of the films Mark Magidson made of the band in concert and in connection with his film "Baraka". There are wonderful photographs in the elaborate 108 page booklet and it really seems to be a 4AD labour of love. A fitting tribute to a special band.

                                                    FORMAT INFORMATION

                                                    Box set Info: 3CDs and 1 DVD in a slipcase box.

                                                    Wolfgang Press

                                                    Everything Is Beautiful

                                                    A collection of some of the best tracks from 4AD punk-funkers, The Wolfgang Press, recorded between 1983 and 1995.

                                                    His Name Is Alive

                                                    Someday My Blues Will Cover The Earth

                                                    His Name Is Alive have undergone such a radical change in style since their earlier introverted, febrile indie albums that "Someday My Blues Will Cover the Earth" may come as a shock. Inhabiting the same space / time continuum as Sade and Morcheeba, this is lush downbeat music with touches of leftfield urban r&b, jazz and soul but still with the wonderful female vocals.

                                                    Kristin Hersh

                                                    Sunny Border Blue

                                                    Kristin Hersh returns with her new album, which contains 12 brand new songs, plus a cover of Cat Stevens "Trouble".

                                                    Magnetophone

                                                    I Guess I Sometimes Need To Be Told How Much You Love Me

                                                      Now signed to 4AD, this is the debut album from Matt Saunders and John Hanson, following several, now deleted, singles. Melodic, warped electronics.


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